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"Julie Badiee"

  1. Calligraphy of Mishkin-Qalam, The, by Julie Badiee and Heshmatollah Badiee, in Journal of Bahá'í Studies, 3:4 (1991). The life and work of a one-time court artist for Nasiri'd-Din Shah, who was present for the nascent years of the Baha’i revelation and moved to Edirne to be near to Baha'u'lláh; examples of Islamic calligraphic traditions and his own compositions. Published Articles. [about]
  2. Drawings, Verse, and Belief, by Bernard Leach: Review, by Julie Badiee, in Journal of Bahá'í Studies, 1:3 (1989). Book Reviews. [about]
  3. Image of the Mystic Flower, The: Exploring the Lotus Symbolism in the Bahá'í House of Worship, by Julie Badiee, in Journal of Bahá'í Studies, 10:1-2 (2000). The design of the temple in India creates the visual effect of a large, white lotus blossom emerging from the pools of water around it. Besides many other deep and old cultural meanings, flower imagery symbolizes the appearance of the new Manifestation. Published Articles. [about]
  4. Images of a 'New Creation' in Twentieth-Century Art, Some, by Julie Badiee, in Journal of Bahá'í Studies, 7:1 (1995). A look at the works of some 20th-century artists to show that, whether they were aware of the Baha’i revelation or not, many of these artists have been compelled to express the quiet, yet unmistakable theme of a "new creation." Published Articles. [about]
  5. Mark Tobey's City Paintings: Meditations on an Age of Transition, by Julie Badiee, in Journal of Bahá'í Studies, 1:4 (1989). On the evolutionary character of Tobey's "City Paintings" during the decades of the 1930s-50s: they may be understood as modern reinterpretations of the traditional themes of the Apocalypse, Hell, the Day of Judgment, and New Jerusalem — the Bahá'í age. Published Articles. [about]
  6. Mashriqu'l-Adhkár, by Julie Badiee, in The Bahá'í Encyclopedia (2009). On the "Dawning Place of the Praise of God," a term used to refer to a Bahá’í House of Worship and its surrounding dependencies. Encyclopedia articles. [about]
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